The Panda

Just to touch on trailer views. High trailer views on a YT probably doesn't cause high grosses, but the more I've tried with my regression analysis, the more I've found they really do correlate. Especially for your mid-range hits (your typical ones). Im not a marketing expert by any means, I know some of the basics that are integrated with my economics classes, so it's interesting. I also don't think a company needs to necessarily have creative marketing to deliver results. It can help, but what ultimately matters is to make people aware of the movie, and make people want to see it. Plus, while you don't necessarily want to minimize your marketing costs (as each dollar in spending for marketing should result in marginal returns from it), your film studio likely has the data to make a good estimate on how much they're going to want to spend on marketing. Also, different marketing strategies will likely work for different films. Also, certain films, like Star Wars, can essentially market themselves by having companies want to have the SW brand on their product, so it's essentially free advertising for Disney. I think it's hard to determine for sure if a studio did a good or bad job on marketing, or if they could have done better, without the full set of information that the studio has.

Oh gosh does that write up look sloppy, hopefully that makes it evident why I'm wanting to redo this

Number 246 Superman (1978) "All those things I can do. All those powers. And I couldn't even save him." My Grade: A+ Most Valuable Player: John Williams for his iconic score Box Office: 134.3m (496.1m Adjusted) Tomatometer: 93% Notable Awards: Nominated for 3 Oscars and Won 1 Special Oscar for Visual Effects Synopsis: "An alien orphan is sent from his dying planet to Earth, where he grows up to become his adoptive home's first and greatest superhero." Critic Opinion: "Given the publicity hoop-la, it is easy to overlook how effectively Richard Donner visualised this revamping of the Depression-born defender of the weak and righter of wrongs. Without really plumping for any particular interpretation of the myth (or any one visual style for that matter), Donner and his screenwriters Mario Puzo, Robert Benton and David Newman (plus Leslie Newman) flip through various genre possibilities, and allow that we might see Superman as either a Big Joke or the Son of God. By keeping the spectacular possibilities open, through the opening scenes of the destruction of Krypton, and the subsequent growth to manhood of the planet's only son on the plains of the Midwest, the film allows naiveté and knowingness to coexist. Only when it goes all out for cold Batmanesque villainy in the second half does it narrow its focus and lose its way." - Andrew, Time Out Reasoning: I'll go ahead and say this is the first of four superhero movies to make my list (and two aren't really "superhero" movies), and so when it comes to your classic live action, superhero movie, this is the definitive one. Greater than The Dark Knight, Iron Man, and Spider-Man, Superman flies high as an all-time classic when it comes to your men in tights. Although it can be a little cheesy, and feel a bit dated, Christopher Reeves is still the definitive Superman, Williams delivers the definitive superhero score and the film laid the groundwork for a sprawling genre to follow it. Decade Count: 1960s: 1, 1970s: 1, 2000s: 3

I'd have to find it, I don't have it on my harddrive anymore, it's buried somewhere in the forums.

Number 247 Master and Commander: The Far Side of the World (2003) "This ship, is England. So it's every hand to his rope or gun, quick's the word and sharp's the action. After all... surprise is on our side." My Grade: A Most Valuable Player: Russell Boyd for the Cinematography Box Office: 93.9m (134.1m Adjusted) Tomatometer: 85% Notable Awards: Won 2 Oscars, Nominated for 10 Synopsis: "During the Napoleonic Wars, a brash British captain pushes his ship and crew to their limits in pursuit of a formidable French war vessel around South America." Critic Opinion: "Like The Lord of the Rings, Master and Commander rides into theaters on a wave of expectations based on the very popular novels it comes from. Fellow fans of the novels, you won't be disappointed. And for those of you who haven't discovered what are widely acclaimed as the best historical novels ever written, this great film is just a glorious hint of what you've been missing." - Moore, Orlando Sentinel Reasoning: The better of the two great seafaring movies to come out in 2003, Master and Commander is a tense epic that gives you a glimpse into the crew helmed by Crowe's character Captain Aubrey. The movie feels as if it were overlooked by a number of similar feeling movies to this that came out that year, and it deserves more attention than it gets. The film is full of tense battle sequences, a rich script, and phenomenal cinematography. Master and Commander is a journey worth taking. Decade Count: 1960s: 1, 2000s: 3

Number 249 and 248 Kill Bill Vol 1 (2003) and Kill Bill Vol 2 (2004) "You're not a bad person. You're a terrific person. You're my favorite person, but every once in a while, you can be a real ----." My Grade: A (For Both Volumes) Most Valuable Player: Quentin Tarantino's Script Box Office: 70.1m for Vol 1 (100.5m Adjusted), 66.2m for Vol 2 (92.2m Adjusted) Tomatometer: 85% for Vol 1, 84% for Vol 2 Notable Awards: Vol 1 nominated for 1 Golden Globe, Vol 2 nominated for 2 Golden Globes Synopsis: "The Bride wakens from a four-year coma. The child she carried in her womb is gone. Now she must wreak vengeance on the team of assassins who betrayed her - a team she was once part of." - Vol 1 "The Bride continues her quest of vengeance against her former boss and lover Bill, the reclusive bouncer Budd and the treacherous, one-eyed Elle." Critic Opinion: "There's enough blood here to appease the Passion of the Christ crowd, plus a nifty catfight in a trailer, a virtuoso buried-alive scene and some Old Testament retribution (an eye for an eye). But Vol. 2 reduces the casualties and gentles down the mood. You get less kill, more Bill. The first was show, this is tell — anecdotes at 10 paces. Of course, this being a Tarantino film, the conversations are as long and lurid and finely choreographed as the martial-arts set pieces. (The auteur is a bit of a diva himself: he loves arias, visual and verbal.) So you get a lecture on the toxic properties of the black mamba snake and a disquisition on the psychological duality of Superman." - Corliss, Time Magazine Reasoning: Bloody, vengeful and definitely Tarantino, Kill Bill is a relentless and thrilling the whole way through. I grouped these two movies together because they really work together as one movie, a modern revenge epic of the sorts. While it may not be Tarantino's best or most acclaimed work, the movies are some of his most fun. There are plenty of iconic action sequence that have come out of these movies, including the famous buried alive scene. These are some of the more rewatchable films to come out of Tarantino's filmography. It's also a rare case of two films that seamlessly feel as if they're one. Decade Count 60s: 1, 2000s: 2

Number 250 The Great Escape (1963) "Colonel Von Luger, it is the sworn duty of all officers to try to escape. If they cannot escape, then it is their sworn duty to cause the enemy to use an inordinate number of troops to guard them, and their sworn duty to harass the enemy to the best of their ability." My Grade: A Most Valuable Player: Steve McQueen's lead performance Box Office: N/A Tomatometer: 93% Notable Awards: Nominated for the Best Editing Oscar Synopsis: Allied prisoners of war plan for several hundred of their number to escape from a German camp during World War II. Critic Opinion: "From Paul Brickhill’s true story of a remarkable mass breakout by Allied POWs during World War II, producer-director John Sturges has fashioned a motion picture that entertains, captivates, thrills and stirs. The film is an account of the bold, meticulous plotting that led to the escape of 76 prisoners from a Nazi detention camp, and subsequent developments that resulted in the demise of 50, recapture of a dozen." - Variety Staff, 1962 Reasoning: Featuring a riveting score by Elmer Bernstein, The Great Escape proves there's excitement to be had in the oldies, and that some films are just thoroughly resistant to aging. The Motorcycle Scene remains as an all-time classic, and despite the slow build up at the beginning, the film hits its stride about midways through and climaxes with a blast. The Great Escape is an example of a movie that aims to entertain and hits that goal head on.

Hello friends, I'll go ahead and say this is going to be a long endeavor and likely won't be complete for a few months, however I was wanting to work on making a thread of better write-ups for all of my favorite movies, as well as update it for myself. I figured I'd make it here so it can be shared with anybody interested in seeing them. Just know I'll be taking it at my own pace, so you may only see a few additions or so a day (depending on the day), and maybe some with no additions. I'll also say I've actually given my top 250 list once before 3 years ago, but it looks considerably different from the one I gave that year. Here are some honorable mentions that just missed my list: Dr. No The Karate Kid A River Runs Through It The Fly Tropic Thunder Into the Wild Toy Story Bambi Dead Poet's Society Brazil The Conversation Slumdog Millionaire The Caine Mutiny The Great Race American Beauty Do the Right Thing The Wild Bunch How the West Was Won The Texas Chainsaw Massacre Who Framed Roger Rabbit

I wonder when it's fresh streak will end. I remember Boyhood made it to a little under 200 before it got a few rottens.

MacBeth in space, directed by Denis Villeneuve, starring Leonardo DiCaprio

Oh lol, oops

You should rent Moonlight and watch it with him. He's the crowd that needs to see it. If that's to edgy, maybe watch Zootopia on Netflix as a gateway drug of sorts.

I'm making this thread for me, but others are free to use it for the same purpose. This thread is for you to document your top 25 of each year (as you desire) for easy reference for yourself. Please put each list in spoilers though as I do for easy scrolling. Top 25 of 2016 Top 25 of 2015 Top 25 of 2014 Top 25 of 2013 Top 25 of 2012 Top 25 of 2011 Top 25 of 2010 Top 25 of 2009 Top 25 of 2008 Top 25 of 2007 Top 25 of 2006 Top 25 of 2005 Top 25 of 2004 Top 25 of 2003 Top 25 of 2002 Top 25 Movies of 2001 Top 25 of 2000

I'm really interested in seeing this after seeing that TM.

Zimmer honestly isn't a bad composer, but he's overrated af. The Lion King is a great score, and he has a few other solid scores in movies like Gladiator. He's the Nolan of film scoring. Good, but way overhyped and worshipped by certain corners of the Internet, and not all-time great. Actually probably overhyped to a larger extent by Nolan. Most Zimmer scores I couldn't sit and listen to without the movie, which is what makes him (and many of 21st century film composers) lacking when you compare them to Williams, Hermann, Rosza, Goldsmith, Bernstein (both of them), Tiomkin, etc.

He has two maybe three memorable scores that aren't carbon copies of his other scores. However I realize that the majority of the scores are going to be from modern movies people have seen and not necessarily the better scores, so I'm not getting my hopes up about many of the classic film composers getting to many slots on here.

My list 1.The Assassination of Jesse James by the Coward Robert Ford 2.No Country For Old Men 3.There Will Be Blood 4.Once 5.Into the Wild 6.Persepolis 7.Zodiac 8.4 Months, 3 Weeks and 2 Days 9.Ten Canoes 10.Red Road 11.Hot Fuzz 12.The Bourne Ultimatum 13.Ratatouille 14.Knocked Up 15.Enchanted 16.Gone Baby Gone 17.The Diving Bell and the Butterfly 18.28 Weeks Later 19.The Simpson's Movie 20.Hairspray 21.Sweeney Todd: The Demon Barber of Fleet Street 22.Juno 23.Atonement 24.Michael Clayton 25.American Gangster

FYC A Casey Affleck movie better than Manchester by the Sea

Here's my list. Please take note there is only one Hanz Zimmer score and limited 21st century scores, as it should be in every list. 1. The Double Life of Veronique - Preisner 2. Alexander Nevsky – Prokofiev 3. The Mission – Morricone 4. The Magnificent Seven - Bernstein 5. On Golden Pond – Grusin 6. The Ghost and Mrs Muir - Hermann 7. Once Upon a Time in the West – Morricone 8. Psycho – Herrmann 9. The Assassination of Jesse James by the Coward Robert Ford – Cave and Ellis 10. Pan’s Labyrinth – Navarrete 11. Ben-Hur - Rozsa 12. Sunset Boulevard – Waxman 13. The Hunt for Red October – Poledouris 14. The Red Pony - Copland 15. The Godfather – Rota 16. Gone with the Wind – Reiner 17. On the Waterfront - Bernstein 18. Schindler’s List – Williams 19. Vertigo - Herrmann 20. Laura – Raksin 21. Beasts of the Southern Wild – Romer and Zeitlin 22. How the West Was Won – Newman 23. Children of Men – Tavener 24. The Fall of the Roman Empire – Tiomkin 25. Eternal Sunshine of the Spotless Mind - Brion 26. Disconnect – Max Richter 27. Chinatown – Goldsmith 28. Raiders of the Lost Ark – Williams 29. The Hours - Glass 30. It’s a Wonderful Life – Tiomkin 31. King Kong – Steiner 32. The Milagro Beanfield Wars – Grusin 33. Requiem for a Dream - Mansell 34. The Alamo – Tiomkin 35. Planet of the Apes - Goldsmith 36. To Kill a Mockingbird – Bernstein 37. Lawrence of Arabia – Jarre 38. Breakfast at Tiffany’s – Mancini 39. The Last of the Mohicans – Jones 40. Dances With Wolves - Barry 41. The Good, the Bad and the Ugly – Morricone 42. The Exorcist - Oldfield 43. Red River – Tiomkin 44. Spirited Away - Hisaishi 45. Memoirs of Geisha - Williams 46. North by Northwest – Herrmann 47. The Grand Budapest Hotel - Desplat 48. The Big Country – Moross 49. Cloud Atlas - Tykwer 50. Up – Giacchino 51. Blade Runner – Vangelis 52. Much Ado About Nothing – Doyle 53. Close Encounters of the Third Kind – Williams 54. Duel in the Sun – Tiomkin 55. The Shawshank Redemption - Newman 56. Patton - Goldsmith 57. The Adventures of Robin Hood – Korngold 58. High Noon – Tiomkin 59. Beauty and the Beast – Menken 60. The Searchers – Steiner 61. A Streetcar Named Desire - North 62. The Ten Commandments – Bernstein 63. There Will Be Blood – Greenwood 64. Life to the Scaffold - Davis 65. Empire of the Sun – Williams 66. The Devil and Daniel Webster - Herrmann 67. The Best Years of Our Lives – Friedhofer 68. Birth – Alexandre Desplat 69. The Social Network – Reznor and Ross 70. Spellbound - Rosza 71. Finding Nemo - Newman 72. Jaws – Williams 73. The Thing - Morricone 74. Night Passage – Tiomkin 75. El Cid – Rozsa 76. Stagecoach - Hageman 77. Lord of the Rings: Fellowship of the Ring – Shore 78. Star Wars: Episode V – The Empire Strikes Back – Williams 79. The Thief of Bagdad – Rozsa 80. Gravity - Price 81. The Incredibles - Giacchino 82. Saving Private Ryan – Williams 83. The Wild, Wild West – Tiomkin 84. Her – Arcade Fire 85. Anatomy of Murder - Ellington 86. Harry Potter and the Sorceror’s Stone – Williams 87. Upstream Color - Carruth 88. Batman - Elfman 89. The Lion King – Zimmer 90. Amelie - Tierson 91. Jurassic Park – Williams 92. Solaris - Martinez 93. Life of Pi – Danna and Simonsen 94. 8 ½ - Rota 95. E.T. The Extra-Terrestrial – Williams 96. Destroy All Monsters – Ifukube 97. Suspiria - Goblin 98. Braveheart - Horner 99. Superman – Williams 100. Forrest Gump - Silvestri

How about we don't overload this with mediocre Hanz Zimmerian style background music this time. (I'll maybe accept the Lion King by Hanz Zimmer, and maybe Gladiator, but lets limit it to that please) FYC Alexander Nevsky - Sergei Prokofiev The Double Life of Veronique by Zbigniew Preisner Once Upon a Time in the West - Ennio Morricone Pan's Labyrinth - Javier Navarrete The Fall of the Roman Empire by Dimitri Tiomkin Sunset Boulevard - Franz Waxman Ben-Hur by Miklos Rozsa The Mission by Ennio Morricone On Golden Pond by Dave Grusin Vertigo - Bernard Herrmann The Magnificent Seven by Elmer Berstein Laura - David Raksin How the West Was Won by Alfred Newman

Lol, 100m OW is the low range for it. Some people are low balling this because it's not aimed at their demographic.

Zhivago Jurassic World

Eh, by that standard you could also count something like Skyfall or Mad Max as a foreign film. Kind of beats the purpose.

Tabulations would be hard to give. Since it was preferential, I have the straight ballot, and then I only did the run offs until a movie was over 50% of the vote (as at that point I'd be wasting my time to keep going as the winner was decided).

If Best Soundtrack sticks around next year, how about we just have a poll to determine what that means? (I.E. Best use of songs, non-original songs or non-original music. The three definitions I could see somebody having)